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Convention Roundup 

Ellen G.K. Rubin 
Scarsdale, NY 

Like children who have long awaited the return of 
the carnival, the participants of the second biennial 
Movable Book Society Conference celebrated ebulliently 
at the Los Angeles Airport Hilton, April 30-May 3. 
From the first evening, the line between strangers and 
old friends was quickly blurred w ith handshakes, kisses, 
and introductions. No sooner were packets with name 
tags, program, and rolling pin bookmark for Cookie 
count, signed by Robert Sabuda, put aside, were pop- 
ups whisked out of pockets and handbags. The "Show 
and Tell" sideshow had begun. "'Have you ever seen this 
book?" "I made these. What do you think?" "1 found 
this on the Internet!" And the question most often asked 
on Thursday and still heatedly debated on Saturday, 
"Where will the next Convention be?" Adding to the 
carnival atmosphere was the concurrent convention of 
ballroom dancers who filled the corridors and elevators 
with bespangled women, heavily made-up, elaborately 
dressed and coifed, squired by pomaded men in either 
cutaways or tight pants and shirts open to the navel. We 
appeared schoolmarmish in comparison, especially with 
our ever-present children's books in tow. 

Wally Hunt graced our first evening, dropping pearls 
of pop-up trivia everywhere he went. When shown a 
copy of My friend the dragon for Random House's 
"Magic-Motion" books, he explained why there are 
bibliographical pages at the back, as there are in several 
other early books.* Some of us fought off jet-lag while 
intimately sitting around a small table examining the 
pop-ups of the "wunderkind," Andrew Baron, a self- 
taught paper engineer. While deservedly proud of 
himself, Andrew acknowledged, "Wally is the taproot." 

Friday morning opened with the sunny presence of 
Ed Hutchins giving his lecture, "Toying With Books: 
Playing with Conventions," the same title as his UCLA 
show. Eschewing self-promotion, Ed gave an overview 
of his work with movable books beginning in 1 974 with 
an annual report for his Dad. While admitting all his 
books start with a conventional book format, they 
almost never end up that way. My "books have so much 
more than is immediately apparent." Ed, in 

Ed Hutchins showing River of Stars 

professorial vest and beard, gave an overview of his 
work from The rabbit report with scrolling text to 
Moving the obstinate with panoram ic text housed in an 
obelisk to intricate tunnel and unfolding books. Like a 
magician giving away his secrets, Ed showed how a 
complicated book, such as Tite shape of things, was 
made from a single sheet of paper. There were "Oohs" 
and "Ahs" from the appreciative audience. In Twisted, 
the rotating covers keep changing the message much 
as the moving tiles change the message in Mosaic. 
Asked if these books can take the rough handling. Ed 
responded, "Yes, but dog-eared is a good quality for a 

Chuck Murphy holding Jack and the Beanstalk 

Chuck Murphy, our next lecturer, echoed this 
thought. When 1 gave him his Smiley 's super station 
to sign, he told me some of the punch-out figures were 
missing.* But, he added, since his books are intended 
for children, "If a book doesn't show signs of handling. 
I haven't done my job." Chuck gave us an A-to-Z 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $15.00. For more 
information contact Ann Montanaro, The Movable 
Book Society, P.O. Box 1 1654, New Brunswick, New 
Jersey 08906. 

Daytime telephone: 732-445-5896 
Evening telephone: 732-247-6071 
Fax: 732-445-5888 

The deadline for the next issue is Aug. 15. 

Continued from page 1 

(really 1-15) of howpop-ups are made, from concept to 
bookshelf. This was "The World of Pop-ups, According 
to Chuck Murphy." First is Murphy's Law: "What pops 
up, must fold down." Despite all the fanciful pop-ups 
we have seen, it all boils down to two types, both 
triangles, sitting on the base page. The triangle allows 
for pivoting, and the art and additional folds add to the 
complexity. Striving for the maximum pop-up on a 
page, he clearly takes delight in making his readers 
wonder how the folded pop-up ever fit inside the book. 
Purity of design is achieved by using fewer pieces of 
paper. Although children are his usual audience, he 
always strives for the "Wow! factor" to appeal to adults. 
Using his forthcoming book, Jack and the Beanstalk, as 
an example. Chuck took us through the steps of putting 
this book together. He talked of the "opportunity for 
serendipity" in manipulating paper and the tedium 
inherent in completing the artwork. Jack will be part of 
a fairytale series for Little Simon, with signed, boxed 
editions being offered. 

Waldo Hunt at Intervisual Books 

Murphy admits to "thinking like a child" and when 
asked if he ever took formal child development 
courses, he responded, he didn't have to, "I'm the 
oldest of seven children." 

It was now time for our outing. With growling 
stomachs, we descended upon Intervisual Books 
begging to be the first of the three groups to have 
lunch. After an elegant bite, alfresco in the California 
sunshine, we were escorted to the inner sancta of 
Chairman Waldo Hunt's Pop-up Museum. Unlike any 
other office I have ever visited, desks and shelves 
spilled over with toys and toy books. The corridors 
were lined with well-lit glass exhibition cases housing 
movable books from 1 860 to the present. Among the 
many Meggendorfer's and Nister's, was The 
Motographa moving picture book ( 1 898) sporting the 
only book cover ever done by Toulouse Lautrec. Wally 
walked us along the cases, pointing out the historical 
highlights as well as the trivia. There is no finer 
docent for pop-up books. 

The final segment of our tour was the humbling 
experience of making pop-up valentines, ably 
instructed by our Disneyland-like guide, Jim Rives. 
Some of us (me) needed remediation in folding the 
pre-scored sheets, artwork by David A. Carter. The 
paper engineers at my table, Robert Sabuda and Ed 
Hutchins. tried not to jump ahead and successfully 
refrained from yawning. As with the 8 year olds who 
usually take this course, we were repeatedly reminded 
not to put too much glue on the tabs, a lesson lost on 
our leader, Ann Montanaro. 

The last leg of our tour took us to see Ed Hutchins' 
exhibit in the august stacks of the UCLA University 
Research Library, Department of Special Collections. 
Ed, with his usual determination to give us his best, 
had finished the catalog the night before, complete 
with movable cover. Spread before us in the minimally 
adorned cases, was a visual history of Ed's body of 
work. We were grateful we had the opportunity to see 
many of these books in action as part of his lecture. 
Totally exhausted, both from jet-lag and excitement 
overload, we made our way back through the LA 
traffic to a much-deserved rest before dinner. 

Well . . . maybe we weren't so exhausted. After 
dinner, and a brief foray trying to attend the dance 
contest, several of us got word that there were two 
dealers selling books in their rooms. Dealers is a 
perfect name for the people we stealthily sought with 
our addictive personalities, whispering their room 
numbers from collector to collector. The sweating 
dancers in the elevators eyed us with suspicion. 

Pat Paris, Ann Montanaro, and Betty Traganza 

Saturday morning, we were prepared for a full-day' s 
schedule. Our first speaker, Betty Traganza, delighted 
us with her off-hand style, accepting "coaching" from 
her husband. Gene, in the front row. These Hallmark 
Book collectors were an impressive team between the 
wealth of knowledge gleaned from years of collecting 
and a trip to the Hallmark Visitor's Center in Kansas 
City to the wonderful slides of her presentation. Betty's 
years as a pre-school instructor was obvious by her 
insights into what children love in pop-up books and 
her infectious enthusiasm telling the stories, as she did 
with Gulliver 's travels and Dr. Doolittle. We learned 
the history of Mr. Joyce Hall, founder of Hallmark, from 
his birth in David City, Nebraska in 1891 to his mail 
order postcard business in Kansas City at 1 8 years of 
age. The Hallmark Editions began in 1967 as gift items 
and the Children's Editions were started in 1970 with 
ten titles, all dust-jacketed. Often titles were sold and 
resold and artwork lost, so that books were reissued 
with newly designed covers. * Betty broke down the 
various books into categories, fantasy, activity, and 
instructional. The remarkable Mr. Franklin an example 
of the latter. 

Betty's topic made a wonderful segue for the next 
speaker, Pat Paris, the illustrator and paper engineer 
who started working for Hallmark in 1961 . Pat painted 
a picture of Hallmark artists "treated as prima donnas? 
working in a family atmosphere, their styles the point 
from where new artists "had to start." Paris' pixie 
appearance was heightened by her enthusiasm to share 
her wealth of knowledge and experience. Her original 
artwork, mock-ups, and story boards served as a colorful 
backdrop for her talk. We were grateful to see them 
considering most unwanted artwork was shredded! 
Hallmark was always a "wealthy" company, with lots of 
new products under development and even their own 
palate of inks. Early on, 1965-1970, Hallmark produced 
a series of shaped, spiral bound greeting cards with 
fold-down dioramas. The titles, Cactus Creek, The red 
barn farm, The Christmas story, The paper doll house, 

and Bunnyland had punch-out figures, a mailing 
envelope, and were sold for $1.00!! Pat continued to 
lay out the sequence of Hallmark's involvement with 
pop-up books, covering the purchase of Hunt's Graph ic 
International and licensing products such as Snoopy 
and Mr. Rogers, and a cast of artists and paper 
engineers recognizable to all who collect Hallmark 
books. lb Penick, the paper engineer who worked with 
Waldo Hunt, is credited with teaching the people at 
Carvajal how to do pop-ups. Dean Walley, writer of 
many books, is still with Hallmark today. 

Bruce Baker 

Hallmark Paper Engineer 

Photo from Hallmark newsletter from 1970s 

Pat walked us down a circuitous path of Hallmark 
titles with changing covers and publishers, an almost 
impossible trail to follow. Tlie haunted house was one 
of Hallmark's most successful books, with over 300,00 
copies printed, while the first ten titles with dust- 
jackets (previously mentioned by Betty Traganza) had 
only 10,000 copies printed. No wonder they are so 
hard to find. . . especially with dust-jackets! ! ! Paris went 
on to be a partner at Compass Productions with Dick 
Dudley and outlined her career there. Recently, she has 
designed the characters at Sea World in San Diego, the 
Ewoks of the third trilogy for Lucas Films, and Indians 
and Greece, multi-media activity packs. 

Not to lose the momentum of our lectures, we broke 
briefly for another delightful al fresco lunch and 
returned to the surprisingly professorial demeanor of 
Robert Sabuda. In clear, measured cadences. Robert 
marched us through the history of pop-up books from 
early medical texts of 1660 using volvelles, through 
the harlequinades for young readers, circa 1770. to 
Dean & Sons, Raphael Tuck, and Nister. founders of 
"The Golden Age" of pop-up books, just around the 
turn of this century. Continued on page 10 

lb Penick, 1931 - 1998 

Meg McSherry Breslin 

lb Penick, the creative mind behind the resurgence 
of pop-up children's books in the 1960s and '70s and a 
man who devoted much of his life to helping thrill 
young readers across the country, died on April 21, 
1998 of heart failure in his Wilmington, North Carolina 
home. A former longtime resident of Chicago, he was 

Although pop-up books were popular during the 
1920s and '30's, they fell out of favor after World War 
II because they were easily damaged. 

But in the 1960s, Mr. Penick and his then-business 
partner Wally Hunt helped restore the books' popularity 
through a full line of children's titles for Random House 
that were visually exciting and more durable. The effort 
produced healthy profits for Random House and dozens 
of other publishers who followed. 

Today, may pop-up designers consider Mr. Penick 
the modern father of their industry and a key leader in 
the advancement of the worldwide development of pop- 
up books, greeting cards and advertisements. 

"He was really responsible for creating the whole 
world we lived in. With the advent of the Random 
House line, a whole industry was created and the very 
first ones were created by lb," said Gerald Harrison, the 
retired president of the children's books division at 
Random House. The first pop-up for Random House, 
published in 1967, was dubbed Bennet Cerf's Pop-up 
Riddles. It was followed by a long line of animal books, 
"Sesame Street" pop-ups, a Wonder Woman pop-up and 
many others tied to popular movies such as "Star 
Wars." Mr. Penick worked with Jim Henson on one of 
his favorites, The Muppet Show pop-up book. 

Mr. Penick was drawn to pop-ups after seeing older 
versions from the 1920s and '30s, and becoming 
convinced he could improve them. 

"He was always looking for the next thrill," said his 
longtime companion, Julia Rose. "And that's sort of 
what he wanted his book or card to do - to thrill 
somebody and thrill them again and again." 

Mr. Penick came to the United States from Denmark 
in 1950 and held a series of odd jobs before settling into 
his first artistic position as a Yellow Pages advertising 

He later opened an art studio in California, and it 
was there that Mr. Penick met Hunt, who had an ad 
agency and a large collection of pop-up books dating 
back to the 1 920s. Once Mr. Penick studied the books, 
he was convinced that he could help revive a then dead 

Mr. Penick joined a company Mr. Hunt formed 
called Graphics International, the precursor to Hunt's 
current firm, Intervisual Communications, now one of 
the world's largest producers of pop-up books and 

"To be able to design something that would collapse 
and come up a thousand times without self-destructing 
takes genius. I invented the word 'paper engineering," 
and that's exactly what it is," Hunt said. 

Mr. Penick's genius wasn't limited to his designs. 
Pop-up books must be assembled by hand, making 
mass production apotentially expensive enterprise. But 
Mr. Penick"s paper designs allowed the books and ads 
to be put together simply and economically. 

While Mr. Penick was a household name in his 
industry, he never became a public figure. He married 
and divorced twice, and seldom settled in anyplace for 
too long. His stay in Chicago was his longest - a 
roughly 20-year residence in the city and northwest 

In addition to his longtime companion, Mr. Penick 
is survived by a daughter Kimberly McGee, two sons, 
Jason and Scott, and three grandchildren. 

Reprinted from the Chicago Tribune, April 24, 1998. 

Summer Arts Institute 
Including Book Arts Courses 

Women's Studio Workshop 

P.O. Box 489 
Rosendale, New York 12472 
http : // www. ws worksh op . org 

Funny Feminist Books 

By Lise Melhorn-Boe 
North Bay, Ontario, Canada 

I have been making bookworks for almost twenty 
years. My first book was made almost by accident and 
I had made several more before I discovered that I was 
not alone; that there was a movement out there with 
artists from any backgrounds turning to the book form 
as a new medium. Eventually I was able to get some 
formal training in bookbinding and letterpress printing, 
although I soon began to move away from rectangular 
books with pages joined at one side. 

A good wife wouldn V . . . 1997 

Color tunnel book: Handmade paper, 

photocopied images and text 

With Danielle Hart's story 

The content of my books often is suggested the by 
structure itself. From early works such as Hairy legs 
(life-sized leg-shaped hand-made hairy paper pages in 
a knitted handspun hair and raimie stocking cover) and 
Leaky stories (a red box of sanitary napkins, made of 
Japanese paper because real ones absorbed the rubber- 
stamped text) to more recent pieces such as A sad little 
girl (a wardrobe trunk holding a cast-paper doll and her 
rubber-stamped, sewn paper clothes on tiny wire 
hangers) and Dinner for three (a cast-paper TV dinner), 
I have humorously addressed personal and political 
issues in women's lives in North American society. 

Originally I was excited about the idealism of the 
artists in the early 80's who dreamed of making art 
available to large numbers of people (artist's books in 
racks at the supermarket!). But I also found that many 
of my ideas were not feasible in large editions, i.e. cast- 
paper shoes in hand-made paper shoe box with several 
printed insoles/pages in each shoe. So I have tended 
toward unique books or books in small editions, 

Penelope's apron. 1994. 

With Penelope Stewart's story. 

Accordion book with pop-ups: Handmade 

flax/linen paper, ribbons sewn on, rubber stamped 

although over the years I have produced perhaps a 
dozen in editions of 30-500 which are available at 
Printed Matter in New York City and Art Metropole in 
Toronto. While none of these is as sculptural as the 
books described above, some of them are shaped and 
others demand reader manipulation. Anything can 
happen: A love story, with collages of images and 
words from women's magazines is a shufflebook. Bad 
girls goodhas illustrations of little girls from popular 
storybooks. The text, collected from women through a 
questionnaire (a commonly used source of stories for 
me) is about being a good or a bad girl. When you mix 
up the illustrations, which are cut in three parts, at the 
neck and at the waist, the stories also get muddled: 
good and bad begin to blur. 

Recently I have been using pop-ups, very simple 
ones at first, as in Good girls don't . . . (four pop-up 
"Sunbonnet Sue" girls with the Virgin Mary 
superimposed on them) and Penelope 's apron (three 
pop-up aprons, the last of which is crumpled, with a 
poignant story about thwarted creativity). After taking 
a couple of workshops with Carol Barton, and teaching 
pop-ups to elementary school children through the 
Ontario Arts Council's Artists in Education program, 
I have grown more confident. 

A good wife wouldn 't ... is a runnel book with 
text. The story is about a woman who wants a 
dishwasher for medical reasons but her husband 
refuses to get one. As you look through the tunnel past 
the piles of dirty dishes and clean dishes in dishracks, 
you see the dishwasher at the end. Cinderella is a new 
take on an old story - the text and images come from 
fashion magazines. Getting ready for the ball, the cool 
but sinister-looking wicked step sisters pose amidst a 
flurry of clothes: what to wear? Looking for 
Cinderella, the Prince finds the sisters' legs flying off 
the page: "Pick me! Pick me!" reads the text. 

Cinderella. 1997 
Pop-up book: Color copied on hemp paper 

Most recently, I have made Once upon a house, an 
architectural autobiography, using family photos and 
basing the pop-ups on the house in which I grew up. I 
am now working on a companion volume about "the 
family that liked to eat" featuring the same house but 
different rooms. 

I've always liked books as an art form because the 
viewer becomes a participant. This is definitely true 
with pop-ups. I'm sure I'll be making more of them. 

A price list is available from Lise Melborn-Boe at 
238 First Ave. E., North Bay, ON, Canada, P1B 1J8. 
Books are also available from Tony Zwicker Books in 
New York. 

Once upon a house. 1998 

Pop-up book: Hemp paper with color photocopied 

images and text, acrylic paint and pencil crayon 

^Convention Trivia 

• Books imported from Asia had to have a certain 
number of pages to NOT be considered advertising and 
be charged a higher duty, therefore, the bibliography 
was added to increase the length of the book. 

• According to Wally Hunt, in The Pop-up Mice of 
Mr. Brice, by Theo LeSieg, Waldo refers to Mr. Hunt. 

• Theo LeSieg is Geisel backwards referring to Dr. 

• Thomas Beach, author of Creepy, crawly 
Halloween fright, is really Robert Sabuda. Compass 
Productions wanted Robert to create a holiday book but 
Robert couldn't use his own name. Beach is an old 
family name on the Sabuda tree. 

• In Smiley 's Super Service (1971) by Chuck 
Murphy, the girl character is Murphy's daughter. 

• First edition Hallmark books sold for $4 indicated 
in code on the books' back cover, have double-sided 
artwork, and illustrated endpapers. 

• The story, Friend of the Dragon, (Random House- 
Magic Motion Series) was one Wally told his daughter, 
Jamie, at bedtime embellishing Wally's train ride 
home from New York City to Scarsdale. 

• The cigars in The Consummate cigar book are 
called, Hualdos, after Waldo Hunt. 

• Michael Hague used his own face for that of 
Gulliver's in Hallmark's pop-up, Gulliver's Travels. 

• Dr. Edith Dowley, acknowledged on the back of 
several Hallmark Children's Editions, was a 
psychology professor at Stanford University. 

• Four small books (4 X 6-inches) previously 
published in larger format by Hallmark were issued in 
a box. The titles were: World of horses; Kingdom of 
the sea; Backyard zoo; The terrible lizards 

Learning how to make pop-ups: Part I. 

Robert Sabuda 
New York, New York 

Ann Montanaro recently mentioned that one of 
her biggest requests from people interested in making 
pop-ups was "where do I find a book to help me?" 
I offered to go one step further and evaluate the titles 
currently available. 

I did not include books that merely asked the 
maker to cut something out and assemble a model if 
it did not explain why the pop worked or offered 
ideas for new avenues of discovery. 

All of the titles discussed are here because they're 
currently in print. Why go on and on about a book if 
you can't get it? This list is by no means inclusive, 
it's just that these are the only books in print I am 
aware of. If you have others in your collection that 
are available please let me know. 

These titles are all for pop-up makers of any age 
but whose skill level is beginner . Intermediate and 
advanced books will appear in subsequent issues. 

Aotsu, Yuko. How to make pop-up pictures! 

Dai-Nippon 1993. ISBN 499-33052-1, $36.00 US, 
21x26cm. 66 pp hardcover, simple black & white 
instructional illustrations, black & white and full 
color photos of all finished projects. Japanese text. 

Areas covered: V-fold, parallelograms (layers), 
coils, basic box, simple tab mechanisms and simple 
book binding. 

Lessons or projects: Approximately 28 projects, 
each creating a finished object: animal, flower, 
house, etc. 

Intended audience: Children. 

Advantages: Clearly illustrated instructions. 
Many photographs of finished projects. 

Disadvantages: Japanese text (if you don't read 
Japanese). No templates/patterns to trace or cut out. 
You must estimate measurements based on the 
picture instructions. 

Campbell, Jeanette R. Pop-up animals and 
more! Evan-Moor 1989. ISBN 1-55799-159-6, $5.95 
US, 22x28cm. 48 pp softcover, humorous black & 
white illustrations. 

Areas covered: Single V-fold and multiple fold 

Lessons or projects: 19 projects, each creating a 
different animal folded into a card. 

Intended audience: Teachers and their students. 

Advantages: Patterns for all projects which are 
intended to be photocopied onto construction paper. 
Simple curriculum ideas for the classroom. 

Disadvantages: Only two pop-up principles. Does 
not go into further possibilities beyond animals. 

Gibson, Ray & Somerville, Lousia. The Usborne 
Book of Pop-ups. Usborne Publishing 1990. ISBN 
0-7460-1273-x, $5.95 US, 20x25cm. 32 pp soft 
cover, humorous full color illustrations. 

Areas covered: V-fold, layers, very simple tab 
mechanism, coils, rotating wheel (using paper 

Lessons or Projects: Approximately 17 projects 
each creating a finished object. Many projects 
"spooky": ghost, bat, mummy's tomb, Cancan pigs. 

Intended audience: Children 

Advantages: Many projects have "Other ideas" so 
the pop-up maker can expand on what has been 
learned. "Tips" are given throughout for extra help. 
Last two pages have templates to trace for a few of 
the projects. 

Disadvantages: Instructions clear but each step is 
not numbered possibly causing slight confusion. 

Irvine, Joan. How to make pop-ups. Beech Tree 
Books (William Morrow) 1991. ISBN 0-688-07902- 
4. $6.95 US, 21x24cm. 96 pp softcover, humorous 
black & white illustrations. 

Areas covered: V-fold, layers, coils, springs, 
simple tab mechanisms, simple revolving wheel, 
simple book binding. 

Lesson or projects: Approx. 30 projects, each 
creating a finished object: mouths, waving arms, 
animals, etc. 

Intended audience: Children. 

Advantages: Clearly illustrated and numbered 
instructions. Has "Combining ideas" and "Make your 
own pop-up book" sections. 

Disadvantages: No patterns to trace or photocopy 
but measurements are given for all projects. 

Irvine, Joan. How to make holiday pop-ups. 

Beech Tree Books (William Morrow) 1995. ISBN 
0-688-13610-9, $6.95 US, 21x24cm. 64 pp softcover, 
humorous full color illustrations. 

Areas covered: V-fold, layers and very simple tab 

Lessons or projects: 30 projects, each creating a 
finished object in a card for a specific holiday when 

Intended audience: Children. 

Advantages: Clearly illustrated and numbered 
instructions. Not only teaches pop-up but introduces 

many holidays that young readers may not be 
familiar with. 

Disadvantages: No patterns to trace or photocopy 
but measurements are given for all projects. 

Johnson, Paul. Pop-up paper engineering. 
Cross-curricular activities in design technology, 
English and art. The Falmer Press 1992. ISBN 
1-85000-909-0, $26.95 US, 19x25cm. 116 pp soft 
cover, simple black & white illustrations and color 
photos of some finished projects. 

Areas covered: V-fold, layers, simple tab 

Lessons or projects: Approx. 45 lessons each 
explaining a pop-up principle with project 
applications. More academic than other titles. 

Intended audience: Teachers of young children. 

Advantages: Clearly illustrated instructions. Well 
paced and planned for classroom activities. 

Disadvantages: No templates/patterns to trace or 
photocopy. Very few measurements given for 
projects, although the author states "It is 
understanding the concept that matters." 

(The following title is assumed out-of-print, but 
as a note of interest is included here because it seems 
to be the earliest instructional book for making pop- 

Kenneway, Eric. Making pop-up greeting 
cards. Mills & Boon, Ltd. (London) 1972. ISBN 
0-263-05065-3, 1.40 UK. 15x2 lcm. 96 pp hardcover, 
simple black & red illustrations with a few black & 
white photos of finished projects. 

Areas covered: V-fold, layers, pleated fan, simple 
tab mechanisms, simple book binding, pop-open box. 

Lessons or projects: Approx. 22 projects each 
creating a finished object: mouths, waving arms, etc. 

Intended audience: Children and adults. 

Advantages: Lessons clearly illustrated. Pop-open 
box is unusual and original. 

Disadvantages: Assumed out-of-print. (If anyone 
has an extra copy of this I'll buy or trade for it. I had 
to borrow Ed Hutchins copy for this review!) 

Nelson, Tom ("Pope of Pop-up" as advertised). 
Perfect Pop-up - Greeting Cards the Easy Way. 

Self published: 800 Washington Ave. North. 
Minneapolis, MN 55401. 1994. $10.00 US, 
22x28cm. 32 pp softcover, simple black & white 
illustrations, a few black & white photos. 

Areas covered: V-fold and layers. 

Lessons or projects: 8 lessons each explaining a 
pop-up principle with ideas for a project. 

Intended audience: Adults. 

Advantages: Clearly illustrated instructions. 8 
templates included at end of book (4 of which are 
card stock templates in an envelope on the last page). 
Extremely thorough text explaining the very basics of 
pop-ups. Tips for rubber stamping images in case 
you're not an artist. 

Disadvantages: Wish there were more lessons. 

Valenta, Barbara. Pop-O-Mania. Dial Books 
1997. ISBN 0-8037-1947-7, $16.99 US, 22x28cm. 12 
full, 3 half pp hardcover, humorous brightly colored 
cut-paper illustrations. 

Areas covered: V-fold, layers, spirals, simple tab 
mechanisms, rotators (using paper fastener), simple 
book binding. 

Lessons or projects: Too many to count! Most 
explain how and/or why a specific type of pop works, 
how to build or create it, then shows an example in 
actual 3-D. 

Intended audience: Children. 

Advantages: The only book that has 3-D pops as 
examples of what is supposed to be made. Well 
designed (not an easy feat) and clearly understood 
instructions. The perfect place to start. 

Disadvantages: Where's Pop-O-Mania 2? 

Conference-goers browse and buy 
at the Swap and Sell 

Conference Photo 

A 10 x 3'/i -inch panoramic photograph 

was taken of conference attendees on the lawn 

at UCLA. 

A copy of the photograph is available 

for $3.00 from 

Ellen Rubin. 66 Lockwood Lane 

Scarsdale, New York 10583 

At Home with the Jolly Jump-Ups: 

An insider's view 

Judy Brandes 
Ocala, FL 

The message line on the e-mail from my son Jay said 
simply, "Jolly!" Inside, it read: http://www.libraries. 

A mouse click transported me to Ann Montanaro's 
web page showing "Mother's day off' a page from The 
Jolly Jump-Ups and their new house. 1 was home again. 

On another web page, <http://www. libraries. rutgers. 
edu/rulib/spcol/montanar/p-intro.htm> "A Concise 
History of Pop-up and Movable Books" by Ann 
Montanaro, I read, "McLoughlin Brothers reentered the 
movable book market in 1939 with the publication of 
their first Jolly Jump-up title. The commercially 
successful Jolly Jump-up series included ten titles 
illustrated by Geraldine Clyne." 

Geraldine Clyne was my mother's pen name, 
suggested by her agent as a substitute for her real name, 
Goldie Klein. After Hitler invaded Poland in 1939, most 
German sounding names were verboten in the business 

Along with my father, Ben Klein, we lived in Queens 
County, New York, just a subway ride from the newly 
opened World's Fair. Although Ben Klein's name was 
never listed on the "Jolly Jump-ups" books, he conceived 
the series. Inspired by German pop-up books, my father 
carried the idea one step further, patenting a process for 
creating each page from a single sheet of paper. Until 
then, (and until others infringed on his patent) pop-up 
books were made from glued sheets. The single sheets 
permitted a smooth transition from the drawing of the 
front of a car to the car's top, to a balcony on the house. 

My father, a Hungarian immigrant with a sixth-grade 
education, also developed and held patents on the devices 
used for folding the books. When the United States 
entered World War II, metal and manpower were scarce. 
Using scrap metal, my father made the prototypes for the 
folding devices in his art studio in our attic. 

How I hated the sound of his drill boring through the 
metal as he produced the templates. I was eight years old 
when The Jolly Jump-Ups and their new house was 
published, and I wanted to live on Featherbed Lane in the 
little pink house on the book's cover. That book and The 
Jolly Jump-Ups journey to Mars remain my favorites. 

An only child, I posed for the pictures my mother 

drew of Judy Jump-Up and her many brothers and sisters. 
My father drew the houses and cars, and translated the 
two-dimensional drawings into the three-dimensional 
world of pop-ups. The original art was drawn at three 
times its finished size. 

Ben and Goldie Klein died in 1979, but memories of 
the "Jolly Jump-Ups" books live on through Ann 
Montanaro's web page. The Jolly Jump-Ups may also have 
a new home in Florida, where I now live. 

Ann put me in touch with Tom Kemp, head of the 
Special Collections Department at University of South 
Florida Tampa Campus Library. In reply to my e-mail 
introduction to him, Kemp replied: "Thank you for telling 
us about your connection to the Jolly Jump-Up books. 
Have you or your parents ever designated an "official" 
archives to preserve the record of their work? We would 
be honored to be a repository for these records. Such a 
collection could include everything from copies of the 
works produced, business records, details of the printing 
techn iques, marketing, articles written by/about the works, 
even video/audio taped remarks/lectures about the works. 
Here we would conserve/preserve these records, making a 
detailed guide for our web pages. As you can see,< > our web pages total well 
over 1 0,000 pages of text and over 20,000 images with 
more being added daily. We have online numerous audio 
and video taped clips that researchers can view at will 
from anywhere in the world. Our goal is to provide access 
to our resources online as well as in person. This has 
saved researchers countless hours in viewing and 
evaluating materials online before coming to the 
Department. Our Special Collections Department contains 
well over 1 million items, with our central focus being 
Floridiana and Children's Literature. A collection related 
to the Jolly Jump-Up books would be a good fit for us." 

Meggendorfer was given a deferential nod. In command 
of the dates, Robert recited the progression from these 
pre- World War I publishers to the Bookano series, later 
"ripped-off with better color" by Blue Ribbon Press 
(1930s). The Jolly Jump-ups appeared in the '30's and 
40's as well, having fan-folded pop-ups with text parallel 
to the spine. In the 1960's, this format was continued by 
V. Kubasta, working in Prague. Kubasta, however, 
increased the number of cuts and folds, creating "elegant 
and humorous" pop-ups, daring "to show the dark side of 
fairy tales." Robert rounded out his talk by referring to 
"The Second Golden Age" begun in 1970, heralded by 
Waldo Hunt working with Random House and Hallmark. 
Responding to a question about the colors of his own 
work, Robert told us, like Hallmark, he has been known 
to mix his own inks. 

Howard Rootenberg 

Howard Rootenberg of B&L Rootenberg Books 
specializing in antiquarian medical and scientific texts, 
our next speaker induced the most sighs of awe. A 
former copyright lawyer, Howard now works for his 
mother, Barbara, "one of very few women dealers of 
rare books," according to Biblio Magazine (Feb.'98). 
While many of us struggle to secure movable books from 
the 1800s, Howard started his talk with a movable 
astrological text from 1507! This antiquity, with 
volvelles, was followed by a star atlas dated 1588 in the 
rare condition of having its volvelles intact, meaning 
uncut. Readers were expected to assemble the volvelles 
themselves. Among his peers, movables are called "flap- 
books." He continued with anatomical flap-books made 
not only for doctors and surgeons, but later produced for 
barber shops and bath houses which did bloodletting. 
Responding to a question about first editions, Howard 
told us there were no copyright laws back then, and it is 
only with great subtlety first editions can be determined. 
The sweep through flap-book history continued with the 
I9 lh century books of Ed Tucson which were hand- 
colored teaching aids. Most books of this type were 

continually used until they fell apart and were then 
discarded, contributing to their rarity. The last medical 
book was The body scope, a 1935 folio with several 
wheels changing organs on both the male and female. It 
sells for $1250. Parenthetically, Howard noted that in 
most anatomical books of all ages, the female anatomy 
was initially concealed by a finely drawn towel or 
garment. This fact provided the introduction to our final 
speaker, yours truly, on the topic of "Pop-ups for Grown- 

The slide-show was an overview of books from my 
collection which, by virtue of their subject or the level on 
which they were written, I considered books for adults. 
Overlapping Howard, I started with my oldest book, 
Spratt's obstetrical tables (1848), teaching obstetricians 
with chromolithographed flaps how to deliver babies, and 
continued through medical and veterinary texts from the 
turn of the century. A 1914 sales aid for the internal 
combustion engine was demonstrated highlighting its 
unique double-sided movable. The collection then skips to 
recent years with books on science, people from Elvis and 
the Beatles to Queen Elizabeth, sports, and art including 
Andy Warhol's Index book. Saved for the end were those 
books strictly for adults, presented with increasing 
torridness. The roaring h\>enties and The naughty nineties 
were artistically evocative of their times. Many collectors 
had never seen Pornographies by Dan Greenberg (1969) 
using movables to hide the nudity in great works of art or 
Man 's best friend by Peter Mayle featuring the cartoon 
stand-up comedian. Wicked Willie. While many knew 

Ellen Rubin 

the tepid presentation of sex in The Kama Sutra, few had 
seen the German reproduction of the 17 th century French 
book. Aber dahinter (But Behind That..). Although using 
only lift-the-flaps, these beautifully colored plates depicted 
explicit sex scenes, and also managed to poke fun at the 
Church. Finally, with some embarrassment, I showed 
some of the plates from The secret carnival (1988) by 


David Russell. This limited edition book graphically 
presented a pornographic "story" set in Venice. The 
hand-colored plates were well appreciated. 

Much like children dismissed from school, we ran, en 
masse, for the sale and swap tables and the paper 
engineers poised to sign our books. Despite the neat 
displays by booksellers and the orderly name tags for 
paper engineers, chaos reigned as collectors sorted 
through the many books they had schlepped from all 
parts of the world. The smell of idolatry was in the air as 
we had the chance to talk with David Carter. Jim 
Deesing, Jose Seminario, Linda Costello. Pat Paris, 
Biruta Hansen, Marcy Heller, Robert Sabuda, and John 
Strejan, the most seasoned of the engineers present. John, 
nicknamed "Silverblade," had many a tale to tell. The 
younger artists. Renee Jablow, Rives, Allison Higa, 
Kathryn Siegler. and especially. Willabel Tong, were 
awestruck by the enthusiasm and knowledge of the 
collectors. Ms. Tong, a designer "removed from the 
consumer," had "no idea the excitement these books 
cause." Lamenting that Roger Smith and Lynette 
Ruschak were "no shows" but grateful for what we had, 
we crawled back to our rooms, looking wilted against the 
ram-rod posture of the dancers prancing their way to the 

Well, our fairytale weekend was coming to a 
close. The banquet started with Wally Hunt telling us all 
about the untimely death of lb Penick that week in South 
Carolina. Only several seconds of the minute of silence 
had elapsed before Wally broke in saying, "It wasn't a 
minute but lb worked very fast." The laughter was 
followed by words of praise. 

Our keynote speaker, Robert Sabuda, was 
atypically dressed in suit and tie, looking like a little boy 
in his Sunday best. Robert sketched his roots in rural 
Michigan where at 7 or 8 years old, he saw his first pop- 
up book in a dentist's office. Immediately, Robert was 
drawn to the wonder of these books, peeking between the 
pages, teaching himself to make them using manila 
folders his mom "lifted" from the Ford Motor Company 
where she worked. It was his "destiny to be a 
bookmaker." Leaving Michigan at 17 for Pratt Institute, 
where he is now an associate professor, Robert began as 
an illustrator of children's books. He has now dedicated 
himself to reversing the "unhealthy perception" that 
picture books are better than pop-ups, "the stepchildren 
of children's books." 

Robert Sabuda holding the 
Meggendorfer Prize 

It was time for the last item on the program, the 
presentation of the "Meggendorfer Prize." It was my 
honor to describe the prize to our members. Like the 
Caldecott and Newbery Awards for children's stories and 
illustrations, it was felt that there should be recognition of 
the best movable book. The award is called the 
Meggendorfer to honor the paper engineer members agree 
set the highest standards for movables and, therefore, 
would set the standard for the prize. At the start of the 
convention, a "ballot-like" list (see "Choosing the Best 
Pop-up Books", Movable Stationary -Dec '97) was given 
to attendees to vote on the best movable book. The winner 
was The Christmas alphabet, and Ann Montanaro 
presented The Movable Book Society's first Meggendorfer 
Prize to Robert Sabuda. Robert was at a loss for words. 

With spirits high and a hopeful vision of pop-ups no 
longer being the "stepchildren" of children's books, our 
fairy tale adventure ended. The ballroom dancers, who 
colored our weekend, heard the last of their music fade 
away. But Waldo Hunt heard music of his own and asked 
Ann Montanaro to dance. Were they dancing to the silent 
strains of Beauty and the Beast? Will "happily ever after" 
be another convention in two years in some exotic 

*see Convention Trivia 




Q. Most members have seen the elaborate pop-up that came with 
Michael Jackson 's compact disk. Before the age of CD's, pop-ups 
appeared as part of the packaging of 33-V3 records. Following are 
three examples: 

Walt Disney's Pinocchio, LP record and pop-up panorama 
storybook. Walt Disney Music Co., 1963. Two full-page pop-ups. 
Litho in Japan by Graphics International, Inc. Los Angeles. 

Ronco presents a Christmas present produced by Ronco 
Teleproducts, Inc. Columbia Special Products, 1973, double page 
pop-up spread. Album cover and pop-up designed by Chris 
Crowell & Co., Darien, Connecticut. Printed in the U.S.A. 
assembled in West Indies. 

Jethro Tull stand up. Reprise Records, Burbank, California, n.d. 
Pop-up of the band. Chrysalis Productions. Printed in the U.S.A. 

Have any of the members come across other pop-ups in 33- 1 /3 

Francis J. Gagliardi 
Plainville, CT 

Q. In Chuck Murphy's article in the last issue he wrote about the 
pop-up exhibit at the University of Arizona and mentioned that 
there was an exhibit catalog. Is that catalog available and if so, 
how much is it? 

Drusilla Jones 
Lutherville, MD 

A. The 60-page, illustrated catalog, W h annual pop-up & 
movable book exhibit, is available for $10.00 from James T. 
Sinski, Special Collections, Main Library, University of Arizona, 
Tucson, AZ 85721. Make check payable to Special Collections. 
University of Arizona. 

woman. \ -888443- 19-9. 

3 9088 01629 2831 

Big silver space shuttle. By Ken Wilson-Max. Scholastic. 
10'/2 x 9'/ 2 . 14 pages. $14.95. 0-590-10081-5. 

Cars, boats, trains, & planes. Orchard Books. 8 x 11.8 
pages. $12.95. 0-531-30058-7. 

Chuck Murphy 's blackcat, white cat. Little Simon. June. 
6V2 x 6'/2. 5 spreads. $12.95. 0-689-81415-1. 

Edward plants a garden. Dale Gottlieb, [tabs]. Envision. 
6 x 6'/ 2 . 10 pages. $7.95. 1-890633-04-6. 
Also: Tulip builds a birdhouse. 1-890633-05-4. 

Ernest Nister's farmyard friends, [transformations] Pop- 
up Press. 3'/4 x VA. 10 pages. $4.95. 1-888443-59-6. 
Also: Ernest Nister's little dolls. 1-888443-58-8. 
Ernest Nister's my little pets. 1 -888443-57-x. 
Ernest Nister's tiny tots. 1-888443-60-x. 

Hide and seek with duck By Jo Lodge. Barrons. 6x6. 12 

pages. $5.95. 0-7641-5075-8. 

Also: Pass the parcel with pig. 0-764 1 -5076-6. 

77?e little book of hugs. Running Press Miniature Edition. 
Running Press. 2'/ 2 x VA. $4.95. 0-7624-0256-3. 

The long-nosed pig. By Keith Faulkner. Dial Books for 
Young Readers. 10 x 10.14 pages. $1 1.99. 

Pop-up trucks. By Richard Fowler. Red Wagon 
Books/Harcourt Brace. 9 x 13. $14.95. 0-15-201681-3. 

Richard Scarry's iciest day ever! A pop-up book with 
interactive play magnets. Simon & Schuster. 10 x 10. 

New Publications 

The following titles have been identified from pre-publication 
publicity, publisher's catalogs, or advertising. All titles include 
pop-ups unless otherwise identified. Titles reviewed in Robert 
Sabuda's "Movable Reviews" column are not included in this 

An adventure with Oliva Owl. Silver Dolphin Books. 8'/ 2 x 8V2. 
18 pages. $10.95. 1-57145-076-9. 

Babette Cole's revolting rules for getting a man. Pop-up Press. 
31/2 x 4'/4. 10 pages. $4.95. 1-888443-20-0. 
Also: Babette Cole's revolting rules for getting a woman. 
1-888443-17-0. Babette Cole's revolting rules for the working 

Richard Scarry 's pop-up opposites. Little Simon. $8.99. 

6'/ 2 x 8'/4. 1 pages. 0-689-8 1754-1. 

Also: Richard Scarry 's pop-up shapes. 0-689-81753-3. 

Say cheese! By David Pelham. [Shaped like a wedge of 
cheese.] Dutton Children's Books. 5 x 6 x 3 'A 24 pages. 

Ten terrific trains. Dutton Children's Books. 8 x 13. 12 

pages. $8.99. 0-525-45946-4. 

Also: Ten tough trucks. 0-525-459465-6. 

The think tank: A fantastic collection of 3-D and pop-up 
games and puzzles. DK Ink. 8'/ 2 x 1 1 . 27 pages. $24.95.